It is well known in the musical industry that the best sounding amplifiers use vacuum tubes to generate their unique tone. Particularly, the vast majority of guitarists agree that the best sounding guitar amplifiers use vacuum tubes to generate their unique tone. Unfortunately, a conventional vacuum tube amplifier is very limited in the amount of user-friendly features it can offer. User-friendly features are difficult to incorporate into a conventional vacuum tube amplifier because the controls are typically analog potentiometers. The amplifier is limited to creating the sound at which the potentiometers are currently set. In order to change the sound of the amplifier, one must manually turn the knobs, losing the previous setting of the amplifier. While playing live, it is impractical to adjust the amplifier tone controls in the middle of playing a song because this task is tedious and time consuming. Not being able to adjust the amplifier tone controls in the middle of playing a song is a major problem for guitarists because they often prefer to use a wide variety of amplifier sounds while performing. Guitarists have also had a long-felt need to be able to save amplifier settings when recording in a studio in order to easily recall amplifier settings that are desired for a particular track. What the guitar player would most like is an amplifier with self-explanatory controls, capable of producing the entire palette of traditional and modern amplifier guitar sounds with perfect authenticity, whose settings could also be easily stored in a digital memory and recalled instantly via a foot-operated controller. See, U.S. Pat. No. 5,208,548, filed 1992, Background Section, assigned by Randall Smith to Mesa Engineering. A guitar amplifier that has self-explanatory controls, is capable of producing the entire palette of traditional and modern amplifier guitar sounds both vacuum tube and digital sounds with perfect authenticity, whose settings could also be easily stored in a digital memory and recalled instantly via an easily operated controller would eliminate many of the limitations of conventional tube amplifiers.
A number of amp makers have started using Digital Signal Processors, DSP, to emulate the sound of vacuum tube amplifiers in order to allow digital control of the amplifier, thus increasing the flexibility and versatility of the amplifier. The major weakness of the DSP-based amplifiers is that they do not sound as good as the vacuum tube amplifiers they attempt to emulate. If a vacuum tube amplifier could be digitally controlled without compromising the tone of the amplifier, then the user-friendly features that are available with digitally controlled amplifiers could be implemented in a vacuum tube amplifier that produces the optimal tone demanded by musicians, and particularly guitarists.
Amplifier companies have sold guitar preamps that attempt to provide a guitar amplifier that has self-explanatory controls, capable of producing the entire palette of traditional and modern amplifier guitar sounds both vacuum tube and digital sounds with perfect authenticity, and whose settings can be easily stored in a digital memory and recalled instantly via an easily operated controller. For example, Mesa Boogie adopted the model name “Triaxis” for such a preamp. The Mesa Boogie design incorporated a large circuit that can be a drop in replacement for a conventional potentiometer in a guitar amplifier. The circuit is large and complicated. Two advantages of the Mesa Boogie circuit is that it can create resistances of up to 1 Meg Ohm or more, and can handle large signals, notably greater than +/−15V. The main disadvantage of this circuit is that it is very large and complicated, making it expensive to produce because it requires a large number of discrete components and a large board space. It is also impractical to build the circuit and enable a high degree of precision in controlling the resistance value of the wiper terminal because increasing the precision of the resistance control requires exponentially more discrete parts. It is often desirable to have many potentiometers to control the amplifier. Therefore, the Mesa Boogie approach can quickly become very complicated and expensive because it requires a large number of discrete parts to replace the conventional potentiometers.
Others have attempted to provide a guitar amplifier that has self-explanatory controls, is capable of producing the entire palette of traditional and modern amplifier guitar sounds both vacuum tube and digital sounds, and whose settings can be easily stored in a digital memory and recalled instantly via a controller. Such designs were unsuccessful because they isolated the digital potentiometers from the vacuum tube circuits with solid-state buffers and/or did not include any digital potentiometers that are directly driven by a vacuum tube. The potentiometers in a tube amp are typically on the order of 250K to 1M ohm. While prior designed preamps attempted to solve the continuing amplifier problem, there remains significant deficiencies that are not solved.
Mesa Boogie released its preamp in the early 1990s and no additional products are known that are similar to the Mesa Boogie preamp. Thus, the need for a vacuum tube amplifier with tone control circuits that accept digital potentiometers without the need for solid state buffers would result in a superior product: a vacuum tube guitar amplifier with a simple solution to digital control of the analog that does not compromise the “tube” sound of the amplifier.
The prior known, unsuccessful attempts paint a bleak picture of the likelihood of success. For example, within the background section of the Mesa Boogie patent, it says, “+15 and −15 volt supplies . . . cannot handle the high signal voltage produced at the output of a vacuum tube voltage amplifier.” Also, the Mesa Boogie patent states that it is preferred to use resistors, “in the high resistance region required, namely 250 k ohms to 1 megohm.” The digital potentiometers should operate from a +/−15 volt supply and have a maximum resistance of 100 k ohm. It would be greatly advantageous to design digital potentiometers throughout the preamplifier tone control circuits where conventional potentiometers would be commonly found without using any solid-state buffers to overcome the long-felt, but unsolved, problems. To design the tone control circuits to accept the digital potentiometers without any problems and without compromising the tone of the amplifier would be unexpected based upon what others have done before. Also, the digipots must be protected from high voltage signals because any signal overload will result in unwanted audio distortion. The tone control circuits must also be scaled to accept the lower resistance values while retaining the desired frequency response from the tone filters. Further, it would be advantageous to provide passive filters in the preamp. The digipots are always used in passive filters as in conventional tube amps.
The most significant prior art is the Mesa Boogie patent that was described above, U.S. Pat. No. 5,208,548, entitled “Programmable Controls for Vacuum Tube Preamplifier.” The Mesa Boogie patent describes, “A circuit for replacing an analog variable resistor in an audio amplifier” and “A circuit for replacing an analog variable attenuator in an audio amplifier.” A complete preamplifier is not addressed, but the rest of the patent describes how these circuits can be used as a drop in replacement for analog potentiometers in a vacuum tube amplifier. Thus, allowing digital control of an analog tube amp.
The Mesa Boogie design is able to preserve a “tube” tone, but the approach includes some very complicated and therefore expensive circuitry. Being a complex circuit, it is also susceptible to failure, and it also requires manually trimming the circuit that replaces the conventional potentiometers. The desired invention should use a single integrated circuit to replace each potentiometer, making such an invention a significant improvement over the Mesa Boogie approach as well as all other known approaches.
A second patent, U.S. Pat. No. 4,495,640, entitled “Adjustable Distortion Guitar Amplifier,” is another example of a programmable guitar amplifier that does not digitize the signal path. U.S. Pat. No. 4,495,640 describes another complicated effort that fails to achieve a workable solution. Programmable control of the resistance value is realized by using a discrete resistive ladder network and an analog multiplexer. As in the Mesa Boogie approach, it is impractical to have high precision in the resistance value because the circuit requires a large number of discrete components, and there is no issue of having to design for high signal voltages or low resistance values. The patent only mentions having one tube amplification stage, but any tube preamp for an electric guitar needs to have at least two tube gain stages in order to achieve the tube tone that guitar players desire. Typically, 3 or 4 tube stages are needed in vacuum tube preamps for electric guitars. Therefore, U.S. Pat. No. 4,495,640 does not represent a traditional vacuum tube guitar preamplifier.
Two additional patents, U.S. Pat. No. 5,866,834 and U.S. Pat. No. 6,075,194, assigned to Gibson Guitar are for tone shaping circuits that mount into a guitar and include digital potentiometers. The first patent, U.S. Pat. No. 5,866,834, mostly refers to electric guitars, and the second patent, U.S. Pat. No. 6,075,194, refers to use in acoustic guitars. Both of the Gibson Guitar circuits use digital potentiometers to digitally control the analog signal of the instrument. In the Gibson Guitar patents, tubes are not used in the design. Neither Gibson Guitar disclosure describes an electric guitar preamp. The design challenge of high voltage swings and high output impedances from tubes is not a factor in the Gibson Guitar designs. The Gibson Guitar designs are a pure solid-state design.
While some attempts have been made to implement digital control of a conventional vacuum tube guitar amplifier, all previous inventions either compromise the unique “pure tube” tone or implement digital control of the analog in a complicated and expensive manner. To achieve the desired result the amplifier should have all voltage gain achieved with vacuum tubes. This also means that all distortion should be introduced by vacuum tubes. Some other designs, like for example U.S. Pat. No. 4,495,640 have a number of solid-state gain stages which color the audio signal differently than vacuum tubes. Also, U.S. Pat. No. 4,495,640 mentions having only one tube stage that is driven by solid-state amplifiers. The ideal situation is to have a series of tube stages that directly drive each successive tube stage through a passive filter. Typically, 3 or 4 tube stages are found in a quality vacuum tube guitar preamplifier.
It is, therefore, a feature of the present invention is to a vacuum tube preamplifier, amplifier and method for musical instruments with programmable controls.
A feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with self-explanatory controls.
Another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with capable of producing the entire palette of traditional and modern amplifier guitar sounds both vacuum tube and digital sounds.
Another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with settings that can be easily stored in a digital memory and recalled instantly via an easily operated controller.
Another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with tone control circuits that accept digital potentiometers without the need for solid state buffers.
Yet another feature of the invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with a simple solution to digital control of the analog signals that does not compromise the “tube” sound of the amplifier.
Still another feature of the present invention is utilizing a vacuum tube preamplifier, amplifier and method for musical instruments with digital potentiometers that operate from about a +/−15 volt supply and have a maximum resistance of approximately 100 k ohm.
Another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with tone control circuits in association with digital potentiometers that enhances the tone of the amplifier.
Yet another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with tone control circuits that are scaled to accept lower resistance values while retaining the desired frequency response from the tone filters.
Still another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with passive filters in the preamp.
Yet still another feature of the present invention is to provide a vacuum tube preamplifier, amplifier and method for musical instruments with all voltage gain achieved with vacuum tubes.
Yet further, an additional feature of the present invention is a vacuum tube preamplifier, amplifier and method for musical instruments with the distortion introduced by vacuum tubes.
Additional features and advantages of the invention will be set forth in part in the description which follows, and in part will become apparent from the description, or may be learned by practice of the invention. The features and advantages of the invention may be realized by means of the combinations and steps particularly pointed out in the appended claims.